Yeah, I think if we had met the right person at that time—like if we had met Luke Wood at that time, we would have signed with him. Let’s say we didn’t meet people that felt familiar, like they’re from our world of music, and they get it there. They support artists, and it’s not just about making a profit or whatever. But eventually, we did find them in Vagrant Records. They were the same kind of people that we knew from Equal Vision. They were just on the West Coast, and they had a slightly bigger operation at the time. And that felt comfortable. The Get Up Kids had signed to Vagrant.
It’s interesting to think back if we had signed to a major label based on Through Being Cool. I think they would have wanted us to keep making that same record to make it a brand. And I think for me as a songwriter, I just would have flinched at that. And I wouldn’t have made it through that. I just would have given it all up.
“Brendan gave me a real chance as a composer,” says Stump of working with director Brendan Walter on the soundtrack to “Spell.” “I was allowed to explore elements of my writing that I could never have without the narrative of the film. This score was fantastic to work on because I got to play with the film’s theme of emotional ambiguity: How much of this is actually happening? How much of this is in Benny’s Head? Is he working towards achieving a goal or is he being consumed by some kind of ominous horror? Asking and in some cases answering those questions with music was a real thrill.”
Matt Nathanson has announced his new EP, Postcards (From Chicago), featuring songs from artists associated with the city. Today he’s shared his cover of Chance the Rapper’s “Same Drugs” featuring Patrick Stump of Fall Out Boy.
Patrick and Sean dive deep on how it felt to be reunited for “Lake Effect Kid” years later, how they met, how they’ve grown as creators and some fun things that you probably didn’t know about “Take This To Your Grave.”
When Matt Nathanson started writing his new record, he had a vision. He wanted it to be political. He wanted it to be uplifting. He wanted to inspire his listeners to see a brighter future.
The songs that came out of him had other plans.
Sings His Sad Heart, the follow-up to Nathanson’s 2015 LP Show Me Your Fangs, is personal instead of political, sad instead of uplifting, and lost in thoughts about the past instead of looking forward to the future. It is a complete contradiction of the album that Nathanson wanted to make. And yet, it’s also the most at home he’s sounded on a record since 2010’s breezy Modern Love.
Then again, Nathanson has always been an artist defined by his contradictions. He’s a riotously funny and jovial live performer who makes crushingly sad records. He’s a guy who exudes confidence and charisma onstage but admits he isn’t very confident as an artist. And he’s a songwriter who’d name the happiest song on his record “Sadness.”
When I spoke to Nathanson in August, I called him “the most nostalgic guy in the room.” It’s a role I often find myself playing: the guy who digs through TimeHop every day and sends pictures and “remember this?” messages to old friends, or the guy who spends entirely too much time thinking about people he lost touch with, wondering if they ever think of him too.
The series features a stunning, original score by composer, and Fall Out Boy front man, Patrick Stump (Pacific Rim, Big Hero 6). “When I was a little kid, if you had asked me what I wanted to be when I grew up I would always say “Scientist,” without hesitation,” says Stump. “So to use my music to help tell the stories of these people who are essentially my heroes is very cool.”
Let Science Speak will inform and engage viewers about the importance of science in our ever-evolving world. Each episode features a scientist and their field.
Billboard sat own with Patrick Stump of Fall Out Boy:
I’ve scored a few films and some shows; I’m not an old pro but I’m comfortable as a composer now. He’s the first director — or anyone involved in production I’ve worked with — who’s also a pretty great musician. It was one of the easiest I worked on because there were just language things… He was so quick to describing what he meant. It’s one thing to describe, say, chords: “Why don’t we go to a minor here?” But it’s another thing, not just knowing the nomenclature, to also know the purpose behind stuff. “Why don’t we try something like this here?” He has a very clear idea of what he wanted and it allowed me to just play.
Dana Schwartz, writing for Entertainment Weekly:
“When you’re doing a score, it’s kind of like acting, really, because you have to get in the head of a character,” said Stump, “whereas with Fall Out Boy, if I’m writing a song, I’m going to have to get on stage every night and sing that. It’s really for me. Writing a song is more — not selfish, but you’re focused on what you would want, whereas in a film you’re just focused on telling the story.”
Few albums sound more like growing up to me than Matt Nathanson’s Some Mad Hope. Last year, for my 26th birthday, I wrote a blog post where I chose one defining song from every year I’ve spent on the planet. “Car Crash,” the opening track from Some Mad Hope, was my pick for 2007. For me, that song—and this record in general—marked the end of youthful innocence and the beginning of something a little more complex and a little less black and white. It’s tough to imagine a better record for that moment in life than Some Mad Hope, which effortlessly pairs pop hooks and anthemic arrangements with emotionally weighty lyrical work. What is tough to process is the fact that this record—the one that marked the start of my journey from youth to adulthood—is now 10 years in the rearview.
Some Mad Hope would prove to be Matt Nathanson’s breakthrough, but it wasn’t his first record. On the contrary, in Nathanson’s catalog, Some Mad Hope holds the status of being the sixth LP. He’d moved the needle slightly in the past. His cover of the James hit “Laid” opened American Wedding, the final film in the initial American Pie trilogy, and his fifth album, 2003’s Beneath the Fireworks (produced by future Springsteen collaborator Ron Aniello) spawned reasonably well-known tracks like “I Saw” and “Curve of the Earth.” But until this record, Nathanson tended to be known as an artist who put on a fantastic live show, but could never quite translate the energy and fun of his concerts into compelling studio records.